Saturday, December 10, 2011

***The Search For The Blue-Pink Great American West Night, Circa 1970

The Search For The Blue-Pink Great American West Night, Circa 1970



Markin comment:

I, once long ago, was asked, in earnest, what I meant by the blue-pink western skies that has formed the backdrop for several entries in this space of late. Or rather the way I would prefer to formulate it, and have taken some pains to emphasize it this way, the search for the blue-pink great American West night. Well, of course, there was a literal part to the proposition since ocean-at-my back (sometimes shoreline right at my back) New England homestead meant unless I wanted to take an ill-advised turn at piracy or high-seas hijacking or some such thing east that the hitchhike road meant heading west.

So that night is clearly not in the vicinity of the local Boston Blues Hills or of the out west Berkshires here in ocean-fronted Massachusetts, those are too confined and short-distanced to even produce blues skies much less that west-glanced sweet shade just before heaven, if there was a heaven shade, blue-pink. And certainly not hog-butcher-to-the-world, sinewy Midwest Chicago night, Christ no, nor rarefied, deep-breathed, rockymountainhigh Denver night, although jaded sojourner-writer not known for breathe-taking, awe-bewilderment could have stopped there some place outside of Boulder for choice of great western night. Second place, okay.

But no, onward, beyond, beyond pioneer, genetically-embedded pioneer America, past false god neon blue-pink glitter Las Vegas in the Nevada desert night to the place where, about fifty miles away from sanctified west coast, near some now nameless abandoned ghost town, nameless here for it is a mere speck on the map you would not know the name, you begin, ocean man that you are, if you are, and organically ocean-bred says you are, to smell the dank, incense-like, seaweed-driven, ocean-seized air as it comes in from the Japanese stream, or out there somewhere in the unknown, some Hawaii, or Guam, or Tahiti of the mind, before the gates of holy city, city of a thousand, thousand land’s end dreams, San Francisco. That is where the blue-pink sky devours the sun just before the be-bop, the bop-bop, the do wang-doodle night, the great American Western star-spangled (small case) night I keep reaching for, like it was some physical thing and not the stuff of dreams.

And the scenes below stand (or fall) as moments in support of that eternal search.


Scene One: A First Misstep In The Search For The Blue-Pink Great American West Night


Let me tell this story, okay, this story about a couple of guys that I picked up hitch-hiking out on the 1960s highway. I’ll get to what highway it was later because it could have been any highway, any American or European, or maybe even African or Asian highway, if those locales had such highways, at least highways for cars back in those days. Anyway it’s their story, these two guys, really, and maybe around the edges my story, and if you are of a certain age, your story, just a little anyway.

Some of it though just doesn’t sound right now, or read right, at least the way they told it to me but we will let that pass ‘cause it has been a while and memories, mine in this case, sometimes seize up even among the best of us. Ya, but this part I do remember so let’s just subtitle this one a segment on that search for the blue-pink great American West night and that makes this thing a lot of people’s story. Let’s get to it right now by picking up where they and I intersect on the great American 1960s road:

Two young men were standing pretty close together, talking, up ahead at the side of a brisk, chilly, early spring morning 1969 road, a highway really, a white-lined, four-laned, high-speed highway if you want to know, thumbs out, as I came driving down the line alone in my Volkswagen Beetle (or bug, hey, that’s what they were called in those days, you still see some old restored or well-preserved ones around, especially out on the left coast), see them, and begin to slow down to pick them up. I would no more think not to pick them up than not to breathe. A few years earlier and I would have perhaps been afraid to pick up such an unlikely pair, a few years later and they would not have been on that road. But the thumbs out linked them, and not them alone on this day or in this time, with the old time hitchhike road, the vagabond road that your mother, if she was wise or nervous, told you never ever, ever to take (and it was always Ma who told you this, your father was either held in reserve for the big want-to-do battles, or else was bemused by sonny boy wanting to spread his wings, or better yet, was secretly passing along his own long ago laid aside blue-pink highway dreams).

This pair in any case, as you shall see, were clearly brothers, no, not brothers in the biological sense, although that sometimes was the case, but brothers on that restless, tireless, endless, hitchhike road. My hitchhike road yesterday, and maybe tomorrow, but today I have wheels and they don’t and that was that. No further explanation needed. I stopped. From the first close-up look at them these guys were young, although not too young, not high school or college young but more mid-twenties maybe graduate student young. I’ll describe in more detail how they looked in a minute but for those who desperately need to know where I picked them up, the exact locale that is, let me put your anxieties to rest and tell you that it was heading south on the Connecticut side of the Massachusetts-Connecticut border of U.S. Interstate 84, one of the main roads to New York City from Boston.

Are you happy now? Not as sexy as some of those old-time Kerouac-Cassady late 1940s “beat” roads, but I believe their ghosts were nevertheless hovering in the environs. Hell, now that I think about it, would it have mattered if I said it was Route 6, or Route 66, or Route 666 where I picked them up. I picked them up, that was the way it was done in those halcyon days, and that’s the facts, man, nothing but the facts.

Hey, by the way, while we are talking about facts, just the hard-headed fact of this pair standing on the side of a highway road should have been enough to alert the reader that this is no current episode but rather a tale out of the mist of another American time. Who in their right mind today would be standing on such a road, thumb out, or not, expecting some faded Dennis Hopper-like flower child, or Ken Kesey-like Merry Prankster hold-out to stop. No this was the time of their time, the 1960s (or at the latest, the very latest, about 1973). You have all seen the bell-bottomed jeans, the fringed-deerskin jackets, the long hair and beards and all other manner of baubles in those exotic pre-digital photos so that one really need not bother to describe their appearances. But I will, if only to tempt the fates, or the imaginations of the young.

One, the slightly older one, wispy-bearded, like this was maybe his first attempt at growing the then de rigueur youth nation-demanded male beard to set one apart from the them (and from the eternal Gillette, Bic, Shick razor cuts, rubbing alcohol at the ready, splash of English Leather, spanking clean date night routine, ah, ah, farewell to all that). Attired: Levi blue-jean’d with flared-out bottoms, not exactly bell-bottoms but denims that not self-respecting cowboy, or cowboy wanna-be would, or could, wear out in the grey-black , star-studded great plains night; plaid flannel shirt that one would find out there in that bronco-busting night (or in backwoodsman-heavy Maine and Oregon in the time of the old Wobblies or Ken Kesey’s Sometimes a Great Notion); skimpily-sneakered, Chuck Taylor blacks, from the look of them, hardly the wear for tackling the great American foot-sore hitchhike road which makes me think that these are guys have started on something like their maiden voyage on that old road; and over one shoulder the ubiquitous string-tied bedroll that speaks already of ravine sleep, apartment floor pick-your-space sleep, and other such vagabond sleep certainly not of Holiday Inn or even flea-bag motel sleeps; and over the other shoulder the also ubiquitous life’s gatherings in a knapsack (socks, a few utensils, maybe underwear, and then again maybe not, change of shirt, a few toilet articles. Not much more than that but more than the kings (and queens) of the roads, 1930s ancestor forbears carried, for sure , ask any old Wobblie, or bum-hobo-tramp hierarch- take your pick-who took that hard-scrabble, living out of your emptied pocket road).

And the other young man, a vision of heaven’s own high 1960s counter-cultural style: long-haired, not quite a pony tail if tied back and maybe not Easy Rider long but surely no advertisement for Gentleman’s Quarterly even in their earnest days of keeping up with the new tastes to corner the more couth segments of the hippie market; cowboy-hatted, no, not a Stetson, howdy, Tex, kind of thing but some Army-Navy store-bought broad brimmed, sun-bashing, working cowboy hat that spoke of hard-riding, branding, cattle night lowing, whiskey and women Saturday town bust-ups, just right for a soft-handed, soft-skinned city boy fearful of unlit places, or places that are not lit up like a Christmas tree; caped, long swirling cape, like someone’s idea of old-time film Zorro stepping out with the senoritas; guitar, an old Martin from the look of it, slung over one shoulder, not protective cased against the winds, rains, snows, or just the bang-ups of living, but protective in other ways when night falls and down in the hills and hollows, or maybe by a creek, heaven’s own strum comes forth. Woody Guthrie’s own child, or stepchild, or some damn relative. I swear.

Welcome brothers, as I open up the passenger side door. “Where are you guys heading?” This line is more meaningful than you might think for those who know, as I know, and as these lads will know, as well, if they spent any time on the hitchhike road. Sometimes it was better, even on a high-speed highway, to not take any old ride that came along if, say, some kind–hearted local spirit was only going a few miles, or the place where a driver would let you out on the highway was a tough stop. Not to worry though these guys, Jack and Mattie, were hitchhiking to California. California really, I swear, although they are stopping off at a crisscross of places on their way. A pretty familiar routine by then, playing hopscotch, thumbs out, across the continent.

These guys were, moreover, indeed brothers, because you see once we started comparing biographical notes, although they never put it that way, or really never could just because of the way they thought about things as I got to know them better on the ride, were out there searching, and searching hard, for my blue-pink night. Christ, there were heaven’s own blessed armies, brigades anyway, of us doing it, although like I said about Jack and Mattie most of the brothers and sisters did not get caught up in the colors of that night, like I did, and just “dug” the search. Jack and Mattie are in luck, in any case, because on this day I’m heading to Washington, D.C. and they have friends near there in Silver Springs, Maryland. The tides of the times are riding with us.

And why, by the way, although it is not germane to the story or at least this part of it, am I heading to D.C.? Well, the cover story is to do some anti-war organizing but, for your eyes only, I had just broken up, for the umpteenth time, with a women who drove me to distraction, sometimes pleasantly but on that occasion fitfully, who I could not, and did not, so I thought, want to get out of my system, but had to put a little distance away from. You know that story, boys and girls, in your own lives so I do not have to spend much time on the details here, although that theme might turn up again sometime. Besides, if you really want to read that kind of story the romance novels section of any library or the DVD film section, for that matter, can tell the story with more heart-throbbing panache that you will find here.

I’ve got a kind of weird story to tell you about why Jack and Mattie were on this desolate border stretch of the highway in a minute but let me tell a little about what they were trying to do out on that road, that west road. First, I was right, mostly, about their ages, but Jack and Mattie were no graduate students on a spring lark before grinding away at some master’s thesis on the meaning of meaning deconstuct’d (although this reference is really an anachronism since such literary theories were not then fashionably on display on the world’s campuses, but you get the drift) or some such worthy subject in desperate need of research in a time when this old world was falling apart and the bombs were (are) raining (literally) on many parts of the world.

In one sense they were graduates though, graduates of the university of hard knocks, hard life, and hard war. They had just a few months before been discharged, a little early as the war, or the American ground troops part of it, was winding down, from the U.S. Army after a couple of tours of duty in ‘Nam (their usage, another of their privileged usages was “in-country”). I swear I didn’t believe them at first, no way, they looked like the poster boys for the San Francisco Summer of Love in 1967. Something, something big was going on here and my mind was trying to digest the sight of these two guys, “good, solid citizens” before the “man” turned them around in that overseas Vietnam quagmire who looked in attire, demeanor, and style just like the guy (me) who picked them up.

Ya, but that is only part of it and not even the most important part, really, because this California thing was also no lark. This is their break-out, bust-out moment and they are going for it. As we rode along that old super highway they related stories about how they came back from “in-county,” were going to settle down, maybe get married (or move in with a girlfriend or seven), and look forward to social security when that distant time came. But something snapped inside of them, and this is where every old Jack London hobo, every old Wobblie, every old bummer on the 1930s rail highway, hell even every old beat denizen of some Greenwich Village walk-up was a kindred spirit. Like I said, and I am sitting right in the car listening to them with a little smirk on my face, the boys are searching that same search that I am searching for and that probably old Walt Whitman really should take the blame for, okay. I’ll tell you more, or rather; I’ll let them tell you more some other time but let me finish up here with that weird little story about why they were at that god forsaken point on the highway.

Look, everybody knows, or should know, or at least knew back then that hitchhiking, especially hitchhiking on the big roads was illegal, and probably always was even when every tramp and tramp-ette in America had his or her thumb out in the 1930s. But usually the cops or upstanding citizenry either ignored it or, especially in small towns, got you on some vagrancy rap. Hey, if you had spent any time on the hitchhike road you had to have been stopped at least once if for no other reason than to harass you. Still some places were more notorious than others in hitchhike grapevine lore in those days, particularly noteworthy were Connecticut and Arizona (both places where I had more than my own fair share of “vagrancy” problems).

So I was not too far off when I figured out that Jack and Mattie were on their maiden voyage. Thumbs out and talking, the pair missed the then ever-present Connecticut State Police cruiser coming from nowhere, or it seemed like nowhere, as it came to a stop sharply about five feet away from them. The pair gulped and prepared for the worst; being taken to some state police barracks and harassed and then let go at some backwater locale as the road lore had it. Or getting “vagged.” Or worst, a nice little nasty trick in those days, have “illegal” drugs conveniently, very conveniently, found on their person.
But get this, after a superficial search and the usual questions about destination, resources, and the law the pair instead were directed to walk the few hundred yards back across the border line to Massachusetts. Oh, I forgot this part; the state cop who stopped them was a Vietnam veteran himself. He had been an MP in ‘Nam. Go figure, right. So starts, the inauspicious start if you think about it, in one of the searches for the blue-pink great American West night. Nobody said it was going to be easy and, you know, they were right. Still every time I drive pass that spot (now close to an official Connecticut Welcomes You rest stop, whee!), especially on any moonless, starless, restless, hitchhiker-less road night I smile and give a little tip of the hat to those youthful, sanctified blue-pink dreams that almost got wrecked before they got started.
***********

The 1960s asphalt-driven, white-lined, hitchhike road, the quest for the blue-pink great American West night, the eternal midnight creep over laden trucks with their company-seeking, benny-high, overwrought teamster drivers, and the steam-driven, onion-filled meatloaf-milk-heavy mashed potatoes-and limpid carrots daily special diner truck stop are all meshed together. You could say that there was no hitchhike road, and no blue-pink dreams, if the old-fashioned caboose (sometimes literally) diner was not part of the mix that glued things together out on that lonely highway. No, I do not speak of the even then creeping family-friendly one-size-fits-all but still steamed meats-milky starches-sogged vegetable franchise interstate restaurants that dot the roads from here to ‘Frisco but back road, back hitchhike road if you were smart, back old-time route one, or sixty-six or twenty road where you had a chance for pushing distance and for feeling America in the raw. Hey, I have a million diner stories, diners with and without truck stops, diners famous and obscene, diners of every shape and composition to tell about. Or rather I have about three basic diner stories with a million steamed meat-loaf-mashed taters-carrots (okay, maybe string beans, steamed, for a change-up)-bread pudding for dessert variations. I want to tell you one, one involving a girl, and involving the great American night that drives these scenes. The other variations can wait their turns for some other time.

Car-less, and with no hope for any car any time soon, but with enough pent-up energy and anger to built a skyscraper single-handedly I set out for the open roads, thumb in good working order, bedroll on one shoulder, life’s worldly goods in a knapsack on the other. It was that simple in those days. Today, sadly, it would take my rental of a major U-Haul truck, for starters. As always in those days as well, and some of you may know the spot if you have ever been in Boston (or, better, Cambridge) there was (and is) a then old abandoned railroad yard that was turned into a truck depot near the entrance to the Massachusetts Turnpike where most of the truckers, the big diesel-fuelled ones, the doubled-wheeled one, picked up or unloaded their goods for further transport. That was the place to check first if you were heading west on the off chance that some mad-man trucker was looking for company on that white-lined, hard scrabble road, and did not mind bedraggled, bearded, long-haired, hippie boy company, at that. As luck would have it I caught a guy who heading out to Chicago with a load of widgets (or whatever, even these guys didn’t know, or want to know, what was on the manifest half the time, especially if they were running “heavy”).

Now there were a million and one reasons that long-haul drivers back then would take hitchhikers on board, even hippies who represented most of what they hated about what was happening in, and to, America in those days (in the days also before the trucking companies, and the insurance companies, squashed that traveling idea and left the truckers to their own devises), some maybe perverse but usually just for sheer, human companionship, another voice, or more usually someone to vent to at seventy or seventy-five miles an hour, especially at night when those straight white lines start to get raggedy looking. This guy, this big-chested, brawny, beef-eating teamster guy, Denver Slim by name (really, I heard other truckers call him that at truck stops when they gave each other the nod, although as described he was neither slim nor, as he told me, from Denver), was not different except the reason, at least the reason that he gave me, was that I reminded him of his goddam son (I am being polite here) who he loved/hated. Loved, because that is what a father was expected to feel toward kin, son kin especially and hated because he was showing signs or rebellion (read: becoming a hippie). I, needless to say, was a little queasy and sat close to the door handle for a while until I realized that it was more about love than hate. Old Denver Slim just didn’t get what was happening to his world, especially the part, the huge part, that he had no control over.

Hey, I had countless hitchhike rides in all kinds of vehicles, from the Denver Slim big wheels to Volkswagen Bugs (look that up) but the common thread was that there were some interesting (if disturbing and hopeless) stories out there. Let me fill you in on Denver Slim’s story both because it helps explain what is coming up in my own quest and the hard, hard fact that there was a malaise, a palpable malaise, in the land and his story is prima facie evidence for that notion. Denver Slim had gone, like a million other members of my parent’s generation, through his childhood in the Great Depression (Chicago) and did his military in the throes of World War II (Corporal, U.S. Army, European Theater, and proud of it). After the war he started driving trucks, finally landing a unionized teamster jobs as over-the-road long-haul driver based in Chicago. As was not unfamiliar then (and maybe not now, either), he married a local women he knew from the old neighborhood, had several children, moved out of Chicago proper to a suburban plot house (“little boxes,” from the description he gave) and bought into the mortgaged, green-grassed lawn, weekly mowed (when he was not on the road), television-watching, neighbor-averting (except for the kids' sake when young) routine that was a blueprint for America 1950s life in the lower middle classes.

Here is where Slim’s story gets tricky though, and interesting. Of course being on the road, being mortgaged up to the neck on the road he was never home enough to make the word family stick. He, as he admitted, when talking about his son Jamie, the rebellious son (read: becoming a hippie), didn’t really know the kids (the other three were daughters whom he , as he said, wouldn’t have known anyway past the age of ten or so the way things work in girl world). But here is the kicker, the kicker for me back then although I get it better now, much better. The wife, Ruth, the ever-loving wife, had along the way taken a boyfriend and, off and on, lived with that boyfriend. Slim went crazy at first about it but somehow got through it and accepted that situation. Oh, you though that was the kicker. No, that was just the prelude to the kicker. Here it is. Denver Slim, old proud soldier-warrior, old mortgaged-to-the-neck teamster, old work and slave on the road for the kids that he doesn’t know has a girlfriend, and had said girlfriend way before his wife took her lover. A beautiful family values story out of the age of the Ozzie and Harriet Show, right? But this is the real kicker for your harried hippie, old salt of the earth Denver Slim in relating the story gets a little lovesick for his honey (no, not his wife, the girlfriend, silly) who lives in Steubenville, Ohio.

And that, my friends, is where we are heading and so instead of getting a ride through to Chicago ( a place when I knew how to catch a ride west, no problem, almost like out of Boston) I am to be left off, and good luck, at the diner truck stop just outside of Steubenville, Ohio. Christ, I never even heard of the place before, never mind trying to get a ride out of there, get out of there at night as it looks like is going to happen by the time we get to the stop. Well, such is the road, the hitchhike road, and I hope old Slim had a good time with his honey, maybe, maybe I hope that is.

***Out In The Be-Bop 1940s Crime Noir Night- The Rich Really Are Different –“ Fear In The Night”-A Film Review



Click on the headline to link to a Wikipedia entry for the crime noir Fear In The Night.

DVD Review

Fear In The Night, DeForest Kelley, Paul Kelly, directed by Maxwell Shane, Paramount Pictures, 1947

Okay here is the familiar rote. Not all crime noir is top shelf, top shelf like Out Of The Past or The Maltese Falcon. By now that proposition has been pretty well established after more than a score of crime noir reviews in this space. Still some of these things can be sleepers, of a sort. Take the film under review, Fear In The Night. On the face of it looking at the unfamiliar cast, the no-name director and the B-movie quality of the production one would throw this one in the has been bin. And mainly that would be right, except that the story line possibilities, never fully exploited, save it for the justly deserved extinction of many of the films in this genre.

Let me show you. A bank clerk (played by Deforest Kelley), an average just trying to get ahead in this wicked old world 1940s marble building bank clerk, has a terrible dream, a nightmare really and cannot figure it out, cannot figure out why he would have, dream or not, murdered an unknown stranger. Moreover in the fresh light of day he cannot figure it out when many parts, too many parts, of the dream wind up being reality. So said clerk takes his problem to a very convenient brother-in-law who just happens to be a homicide detective (played by Paul Kelly). After a ton and one half of skepticism the detective finally sees that this is one bank clerk who is in serious trouble. And solving this riddle is what makes this thing kind of twist and turn a little before the real bad guy is caught.

And the real bad guy, or rather his maniacal plan of operation, is what could have made this thing jump better than it did. Seems a Mayfair swell, a very jealous Mayfair swell, with a young wandering wife finds out she has been keeping company with someone else on his time. So he, the Mayfair swell Mr. Belknap by name, sees red but knowing that crime doesn’t pay or rather that he doesn’t want to pay for the crime sets our bank clerk up, sets him up big-time, through hypnosis. That little off-beat technique makes all the difference in the world. And the theme that could have better explored the social tensions in this film as we know all too well as of late- the rich don’t want o pay for nothing from taxes to their crimes-never gets it full workout. Why? Well, easy on that one. Something that also has become a mantra in this space. Crime, well crime in crime noir, doesn’t pay. Just ask our Mayfair swell.

Thursday, December 8, 2011

***Once Again- Out In The Be-Bop 1950s High School Dance Night-Save The Last Dance For Me



A YouTube film clip of The Drifters performing their classic Save The Last Dance For Me. Please, pretty please.

CD Review

The Rock ‘N’ Roll Era: The ‘50s: Last Dance, Time-Life Music, 1990


Hey, I have spent tons of time and reams of cyberspace “paper” reviewing many aspects of 1950s American teenage culture (and maybe it spread to Europe too. Think about the Beatles and Rolling Stones and what they were listening to), especially that inevitable school dance and its also inevitable last dance. John and Mick had to ask too, remember. A last dance, by the way, that I have been at great pains to describe elsewhere as the last chance for glory for shy boys like me (or girls, for that matter, but they can speak for themselves). That seminal event also ritualistically involved setting off the wallflowers from the “in” crowd in the school social pecking order. And from there by some mysterious process that pecking order was set in stone through three or four long serf-like years of high school. Or, perhaps, for you and your crowd, your guy crowd, it acted as a test to prove that you that something, some moxie to ask that certain she for the last one.

Of course, the critical question, the world historic question, was whether the last one was to be a slow one that meant that you had to dance close and pray to high heaven that you did not ruin your partner’s feet or shoes in the process. And that the hair cream (Wildroot, a little dab will do ya, of course)had kept your cowlick in place, that using your Gillette steel-edged razor hadn't caused terminal blood lost bit only a tissue sop wound, that the deodorant that was suppose to get you through the night did not wear off although you seem to be sweating, excuse me, perspiring through your tee-shirt, and that that surefire kiss mouthwash that tasted, well, tasted like mouthwash held up as well. Or would it be, with hosanna relief, a fast one, that you could kind of fake that you knew how to dance to, but was not as bound up with the ending of your rising social status like those slow ones. And no worry about hold-your nose mouthwash, hair cream, shaving cream or Right Guard.

As this compilation will let you have memory either as both types of songs are included so you can get “nostalgic” for what did, or did not, transpire in the old days. Or for the younger set to giggle over what your parents or grandparents got all heated up about and thank somebody that you came along in the days of hip-hop nation and avoided all that. Whee!

Standouts here include: Chuck Berry’s Back In The U.S.A. (fast and great doo-woppy back singing parts so you could sing along while you are not paying attention to your partner just in case things didn't work out); Tommy Edwards’ It’s All In The Game (slow, swoony, ouch, I am thinking about that razor-induced neck wound); the legendary late Bo Diddley’s Who Do You Love? (fast and sassy, sassy 'cause girls who liked Bo, well, they "did' it, didn't they, and you know what "did it: means, with all that Afro-Carib beat); and, the Flamingos I’ll Be Home (slow, and only if that certain she turned you down and you had to dance with your sister's best girlfriend, or something like that). How is that for deejaying even-handedness?

Wednesday, December 7, 2011

***A Bit Of The “Odd Manner”- Irish Style- The Childhood Saga of Frank McCourt-“Angela’s Ashes” -In Honor Of Easter 1916



Click on the headline to link to an NPR entry on the passing of Irish-American author Frank McCourt On July 20, 2009

Book Review

Angela’s Ashes: A Memoir Of Childhood, Frank McCourt, Flamingo, London, 1997


Frank McCourt’s Angela’s Ashes is probably the easiest review that I have had to write since I have been doing such reviews in this space. Why? Frank McCourt’s book of childhood memoirs is my story. No. Not in the details of his life’s story, or mine. But rather how the fact of being Irish, of being poor, and of being uprooted affected your childhood, and later times as well. And those traumas, for good or evil, crossed generational lines. McCourt, we are told as his story unfolds, was born in America of immigrants of the diaspora after Irish independence who, for one reason or another, returned to the old country in defeat in the 1930’s. As McCourt noted right at the beginning, that fact in itself provides a rather ironic twist if one is familiar with Irish history and the endless waves of migration (at least until very recently and now that has again been reversed with the latest “troubles”).

McCourt was, in any case, thus a child of the Great Depression and World War II, the generation of my parents, as it was refracted through Ireland during that period. I, on the other hand, am a child of the 1960’s, the “Generation of ‘68” here in America born of the dreaded Irish Catholic-English Protestant combination- and raised in an Irish Catholic enclave. Nevertheless the pages of this memoir are filled to the brim with the results of the emotional (and sometimes physical scars) of being “shanty” Irish (and decidedly not “lace curtain” or “chandelier,” the other “classes” of the dispensation) in this world that hit home, and hit home hard, to this reader.

That said, we do not share the terrible effect that “the drink” (nice way to put it, right) had on creating his dysfunctional family with his father’s, Malachi McCourt’s, crazed need for the alcohol “cure” in order to drown his sorrows and his bitternesses and the fact that his great moment in life, his "fifteen minutes offame" was his bit for “the cause” (of Irish independence). A familiar story in the Irish community here, and in the old country, but my father, my poor old shambles of a father, seldom drank, although he too was constantly out of work and shared with Frank’s father that same bitterness about his fate. A quiet despair bitterness that touched the whole family, and touched every even small event, good or bad, sometimes the good worst than the bad. My father was uneducated, lacking in skills, and prospects and as a “hillbilly” Protestant Southerner from coal country down in Kentucky was thus, an ‘outsider’ in the Boston milieu like Frank’s father had been in Limerick. That is the commonality that caught my eye (and sometimes my throat) as I read of Frank’s youthful trials, tribulations and adventures. McCourt’s ability to tap into that “mystical” something is what makes this a fine read, whether you are Irish or not.

Throughout the book McCourt’s woe-begotten but fatally prideful father is constantly referred to in the Irish-town working class poor ghetto of Limerick (and elsewhere, as well, but the heart of the story is told from there) as having an "odd manner." This reflects a certain clannishness against those from the North of Ireland (Dare I say it, the area then known as Ulster) and a sneaking suspicion amount that crowd of some alien (meaning English Protestant) heritage. As the book progresses that odd trait is transferred (by heredity?) to Frank in his various wanderings, enterprise, and desires. What joins us together then is that "odd manner" that gets repeatedly invoked throughout the book. Frank survived to tell the tale. As did I. But in both cases it appears to have been a near thing.

There is more that unites us. The shame culture, not an exclusive Irish Catholic property but very strong nevertheless, drilled in by the clannishness, the closeness of neighbors, the Catholic religion and by the bloody outsiders- usually but not always Protestants of some sort (as least for blame purposes- you know, the eight hundred years of British tyranny in the misty past, although very real to be sure). All driven, and driven hard, by not having nearly enough of this world’s goods. Every time I read a passage about the lack of food, the quality of the food, the conditions of the various tenements that the McCourt family lived in, the lack of adequate and clean clothing, I cringed at the thoughts from my own childhood. Or during the various times when his family was seriously down and out and his mother, the beloved Angela of the title, had to humble herself and beg for charity, of one form or another, from some institution that existed mainly to berate the poor. I can remember own my mother’s plaintive cry when my brothers and I misbehaved that the next step was the county poor farm.

And how about the false pride and skewed order of priorities? Frank’s father was a flat-out drunk and was totally irresponsible. From a child's perspective, however, he was still your dad and must be given the respect accordingly, especially against the viciousness of the outside world. But life’s disappointments for the father also get reflected in the expectations of the son. The dreams are smaller. Here, the horizons are pretty small when a governmental job with its security just above the “dole” is the touchstone of respectability. Sean O’Casey was able to make enduring plays from the slums of Dublin out of this material. And Frank McCourt enduring literature. Thanks, brother.

Note: The movie version of “Angela’s Ashes” pretty fairly reflects the intentions of Frank McCourt in his childhood memoirs and follows the book accordingly, without the usual dramatic embellishments of that medium. The story line is so strong it needs no such “touch-ups.” Particularly compelling is the very visual "piss pot" sense of utter poverty down at the base of Irish society in Frank McCourt’s childhood.

The two songs below are constantly being sung by Frank McCourt's father when he is "on the drink" to give a little musical flavor to this entry.

"Roddy McCorly"

O see the fleet-foot host of men, who march with faces drawn,
From farmstead and from fishers' cot, along the banks of Ban;
They come with vengeance in their eyes. Too late! Too late are they,
For young Roddy McCorley goes to die on the bridge of Toome today.

Up the narrow street he stepped, so smiling, proud and young.
About the hemp-rope on his neck, the golden ringlets clung;
There's ne'er a tear in his blue eyes, fearless and brave are they,
As young Roddy McCorley goes to die on the bridge of Toome today.

When last this narrow street he trod, his shining pike in hand
Behind him marched, in grim array, a earnest stalwart band.
To Antrim town! To Antrim town, he led them to the fray,
But young Roddy McCorley goes to die on the bridge of Toome today.

There's never a one of all your dead more bravely died in fray
Than he who marches to his fate in Toomebridge town today; ray
True to the last! True to the last, he treads the upwards way,
And young Roddy McCorley goes to die on the bridge of Toome today.

"Kevin Barry"

In MOUNT JOY jail one Monday morning
High upon the gallows tree
Kevin Barry gave his young life
For the 'cause of liberty
Just a lad of eighteen summers
Yet no true man can deny
As he walked to death that morning
He proudly held his head up high

Another martyr for old Erin
Another murder for the crown
The British laws may crush the Irish
But cannot keep their spirits down

Just before he faced the hangman
In his dreary prison cell
The British soldiers tortured Barry
Just because he would not tell
The name of all his brave companions
And other things they wished to know
Turn informer or we'll kill you
Kevin Barry answered no

Another martyr for old Erin
Another murder for the crown
Whose cruel laws may crush the Irish
But CANNOT KEEP their spirits down

***Out In The Be-Bop 1930s Night-When Primitive Man “Wins”- “Petrified Forest”-A Film Review



Click on the headline to link to a Wikipedia entry for the 1930s gangster classic, Petrified Forest.

Petrified Forest, starring Humphrey Bogart, Bette Davis, Leslie Howard, Warner Brothers, 1936


Okay here is the genesis of this review. Recently, being on a something of a film noir tear, especially a crime noir tear, I reviewed a little light puff of a noir film, Moontide, where well-known 1940s French film star Jean Gabon tried to break into the Hollywood film racket with a role as a tough hombre, seen-it-all dockworker who is really, just ready, to settle down after all the wine, women and song escapades have worn thin. And settle down in 1940s movie parlance (and maybe life too) was with a good woman and a white picket fenced house (or in this film a barge, it’s near the sea, see). The good woman, a kind of eternal working-class version of everywoman also happened to be down on her luck, and in that film was played by Ida Lupino.

Well, seeing Ms. Lupino in that role got me to think about a similar role that she played trying to be a good “wifie,” (and “mother” to the dog Pard) to Humphrey Bogart in High Sierra. In that film the grizzled Bogart played a serious desperado, a three-time loser desperado, Roy Earle, looking to “retire” to that picket-fenced house except the cops would not let him. Let him, especially after a certain messed-up resort hold-up caper went awry. And when Mr. Earle bought it, as it had to be since crime does not pay, grizzled wised-up gangster or not, Ms. Lupino was left to keep his memory fresh and keep moving on.

Of course all of that high Bogartism got me to thinking about other grizzled gangster roles (and grizzled detectives too) that the bad boy actor Humphrey Bogart played, and that led naturally to the film under review, Petrified Forest, where as Duke Mantee Bogart put in his bid for king of the gangster hill. In fact this film (he had also played the role on Broadway, I believe) first established him for that challenge. The story line here has him on the run from, what else, a busted bank robbery, and every cop in the Pretty Boy Floyd, John Dellinger, Bonnie and Clyde American untamed West was looking for him and his confederates. He winds up in a flea-bitten café located, where else, next to the Petrified Forest, a great symbol of humankind’s age old struggle to deal with nature, and to break with the primitive past.

And that isolated, flea-bitten café setting is important because there is a young serving- them-off-the-arm waitress, Gaby, played by a very young Bette Davis, as the owner’s daughter, trapped there, full of dreams, literary dreams, and a very, very strong to desire to put those silly tree rocks behind her. And, as the film opens, a very well-turned out gentleman/intellectual/ hobo/alcoholic, Alan, played by Leslie Howard, on his uppers trying to get off that dusty road. And that little tension, a tension that was palpable to audiences in the 1930s, between Bogart’s gangster take-everything-you-can-grab-and-grab-it-quick and Howard’s ordered intellectual world gone awry with the times, the 1930s despair times what they were, is what drives the theme of this one. Alan, knowing his time has passed, in any case, makes a pact with the devil to insure Gaby’s future hold on her dreams. And while Bogart, perhaps, played more memorable roles later he certainly was believable as the primitive man gangster trying to claim his rightful place in the modern world. Naturally, in movie life he must pay, pay big-time, with his life because we all know, or should know, that crime does not pay.

***From The Occupy Boston Woman’s Caucus March And Celebration-December 4, 2011

Josh Breslin comment:

“Hey, what time is the Women’s Caucus March starting?, asked, asked softly and politely, a young, maybe mixed spanishblackwhiteindian, woman dressed in what I would describe as modern young women casual elegant, student division, but what do I know of such North Face fashion trends, as I approached the tent full gravel walkway entrance that leads into the Occupy Boston encampment on the kitchen tent side. I answered softly and politely not out of instinct, or mannered effect, but from hoarsed-out chanting-“Whatever we wear, Wherever we go, Yes means Yes, No means No!” – “Consent in the sheets, Dissent in the streets!” – “We are unstoppable, another world is possible!,” words that rang in the streets that Sunday afternoon as the Women’s Caucus and their allies, including me, marched through Boston. A little change of pace from the generic national anthem-like “Banks got bailed out, we got sold out” slogans of late, but necessary to show, show manly show, solidarity with the women of this encampment who have led the struggle against male chauvinism and sexual harassment in general-and, disturbingly, in the camp.

“Sorry, you just missed it, we are just finishing up,” I told her. She responded that she thought the thing started at two (another of those snafus that are intrinsic to makeshift social movements, even movements hard-drive driven by modern computer technology), it said so in the Occupy Daily Calendar and she had rushed over here to make it in time. “That is when the music and poetry was listed to start. In fact they are underway down at the main stage now. I’ll walk you down” “Oh, I hope I didn’t miss Letta Neely reading her poetry, that is really why I came. She speaks to me, speaks to me a lot.” I replied that I was not familiar with this woman’s work. “Oh she is a sistah, a black beautiful lesbian sistah, who writes about stuff I feel, feel deeply, being a mixed-race, mixed-up, bi-sexual woman.” I gulped, and smiled, smiled inside, not at what she said but at what infinite number of words would have to go into righteously describing this young woman with that new information added, and of her search for space. I gave up as we approached the main stage and listened to a woman who described herself as PuertoDom ( I hope I am spelling this right, Puerto Rican and Dominican, okay) reading her poetry. Very sharp, witty, and politically to the point poetry. Then Letta Neely came on. Check this out:

From Juba:poetry/by Letta Neely, Wildheart Press, copyright 1998

juba

for renita

u be a gospel song
some a dat
ole time religion
where the tambourine git goin
and the holy ghost sneak up
inside people's bones and
everybody dancin and shoutin
screamin and cryin
oh jesus, oh jesus
and the people start to clappin
and reachin back to african rhythms
pulled through the wombs of
the middle passage
and women's hats start flying
while the dance,
the dance they do gets hotter and holier
and just the music has brought cause for celebration
yeah, u be a gospel song, girl
like some a dat ole back in the woods, mississippi river kinda
gospel
and i feel the holy ghost when you is
inside me
and the tambourines keep goin
and folks is stampin they feet
and oh no,
it's the neighbor knocking on the door
askin is we alright
say we was screamin
oh jesus, oh jesus
and i heard us but i
didn't hear cuz
i was being washed in the gorgeous wetness of
your pussy
being baptized w/ole time religion
the oldest religion there
is
2 women inside the groove
of each other
we come here
we come
we come here
to be
saved

Or feast on this beauty:

Connections

There are connections between us
between the lines we've needed or been forced to draw with our
blood
across
time space words wounds
On these new york streets i've seen cracks in the sidewalk and
grass spurting through like revolution holding fast
to one creed only: "keep going, keep going baby, keep going."
The crabgrass makes me think about where we, you and i
are going
it's a hard day when i realize i don't know any of my enemies
personally
It's my friends i'm speaking to
somehow we keep fighting the same battles over and over again
and arguing over
who's got it worse who's on the bottom of the totem pole
and i don't mean to
proselytize
but we're killing each other
and
the totem pole is still standing
and
we're still using it
not knowing it's an ethnic slur
Me, i feel trapped in the middle of all this whirlpool
i feel like i'm on top of three mountains
shooting
at myself
I went to the march on Washington and saw a lot of white men
together
talking about we will no longer sit on the back of the bus and
somebody had the nerve to say:
"there are a million rosa parks' here"
and i thought
it's not about white guilt or even gay pride
but make sure the
truth
is being told
Cuz the rosas couldn't make it to the march and
as for the back of the bus
whoever thought it up probably
flew
first class
So, i'm not talking bout not aligning with the struggles of my Blk peoples cuz i understand the connections all too well just remember to take Emmit Till, Atlanta child murders, Smallpox blankets, Stonewall, the treatment of Chinese railroaders, and Apple pie all together
Every day in harlem i face a different kind a fear other Blk peoples screaming at me with their eyes cuz i'm in love with way a womon is
One time a man said to my friend, he stood next to her and said,
"I love you
cuz you Blk and you my sistah, but I think all faggots and dykes
should die."
One time a "friend" said to my sister in the presence of enemies,
"You're not natural"
and then wanted to know
why she felt
unsafe
I want to know does anyone fully comprehend this tapestry
does anyone know how to sew all this together without mixing
histories or
trading truth for slogans.
We are not all hanging from trees
standing in welfare lines neck deep in sand getting our heads kicked off into the sunset
(these things are being done as we speak) We are not all getting beat down at Stonewall We are not all being dragged from our homes by our hair being raped by husbands or friends or lovers
We are not all dying the same way. But we are all fighting to breathe
fighting to breathe

I, an old white man who spend his 1960s drug-drenched be-bop nights summers of love chasing women (young girls really, as I was a young boy) and running away from my old working-class Olde Saco, Maine oceanside white bread roots, am probably separated by entire gulfs of time, of age, of politics, of means streets, hell, of opposite sexual preference, and who knows, loves, hates, desires, and foods liked, but know this, my new-found young mixed and matched -up woman friend was right. Letta Neely is a sistah.

Tuesday, December 6, 2011

***Out In The Be-Bop 1940s Night- Free, Yah, Free- High Sierra- A Film Review



Click on the headline to link to a Wikipedia entry for the crime noir, High Sierra

DVD Review

High Sierra, starring Humphrey Bogart, Ida Lupino, and, of course, Pard, directed by Raoul Walsh, Warner Brothers, 1941

Funny how a character, or performer, in one film will lead you to remember about or to investigate another. Recently I viewed and reviewed a film in which Ida Lupino starred, a kind of off-beat sweet fluff working-class thing in its way from 1942 entitled, Moontide, where she played alongside French actor, Jean Gabon, as down-at-the-heels hash-slinger seeking a little white house with a picket fence. In that role there was no question of her being a femme fatale-type that guys get all, well, nervous over but just a reliable dame when the deal goes down, good or bad. A rare thing in crime noir world, especially with dames. Here in the noir classic, High Sierra, Ms Lupino picks up some of the down-at-the heels aspects of that role of hash-slinger as she plays along side Humphrey Bogart as that reliable shoe good guys and bad guys both use for their own purposes

Of course at this stage of his career Bogart was the king hell actor getting choice roles as the grizzled whatever from Sam Spade in Maltese Falcon to Captain Morgan in To Have Or Have Not so his presence is the driving force of the film. Ms. Lupino is just along for the ride, and to pick up the pieces when the deal goes south. Here Bogart plays the three-time loser, Roy Earle, just out of prison and heading west to get some fresh air, and maybe a new start. A new start in his old racket, armed robbery, big-time armed robbery. Along the way west he is befriended by an Okie-type family heading to California just like the Joads before them. But Roy gets hung up on the young daughter, some lame Janie, and helps fund her operation to fix her foot. Naturally Janie is nothing but ungrateful and spoils Roy’s rehabilitation program. Needless to say, also along the way, brought along by one of the confederates, Marie, the role Ms. Lupino plays, is the smitten dish- rag gangster’s girl who stands by her man, although why with Roy the way he treats her is not apparent on the face of it.

As always in these crime noir adventures, in the end, crime doesn’t pay. In this case the big-time resort heist is fouled up by the inside man and Roy his confederates have to go on the run. Moreover Roy and Marie are forced to split up. Law enforcement keeps crowding Roy. One thing a three-time loser knows, knows deep in his bones, if he goes back to prison he ain’t coming out. That knowledge drives the suspense of the last part of the film as Earle’s world becomes smaller and smaller. And, as they say, it’s a dog’s world that does him in at the end. Ya, but he was free, free like the starry nights that he had time to dream about in his prison nights. And Marie? Who knows but that some other heel may need a reliable shoe.